This string quartet movement keeps trying to turn itself into a nice simple chorale, but keeps being distracted by various confusions and complexities. The chorale has been choraled. The piece is in a 26-note scale in the hemifamity, or 5120/5103 planar, 7-limit temperament. While the vibrato obscures hearing it, it is in the synch tuning, which is a good one for hemifamity. Topics: microtonal, microtonal music, xenharmonic
"No one shall expel us from the Paradise that Cantor has created." -- David Hilbert. Composed and sequenced by Gene Ward Smith, October 26, 2006. In 130 equal temperament. Successively in the hemw7a, diaconv6144, diaconv2401, Hemiwuer, Harry, bihexany, and kirkwood gap scales. Topics: microtonal, microtonal music, xenharmonic
In the movie The Pink Panther Strikes Again, an insane Inspector Dreyfus escapes and terrorizes the world before accidentally disintegrating himself with his own death ray. As he slowly dissappears, he plays the organ. This is my idea of music appropriate to such a condition; it is in the Octoid scale, 72 notes out of 224-et. To quote from the film, "What is the price of one piano compared to the terrible crime that's been committed here?" Topics: microtonal, microtonal music, xenharmonic
This is a severely mathematical exercise applying the 13-element perfect difference set to the 13-element 7-limit tonality diamond. The violin riffs on the difference set, and with the clarinet permutes through various interval relationships, including unisons. Topics: microtonal, microtonal music, xenharmonic
A trio for clarinet, English horn and banjo in the orwell temperament, the 22&31 regular temperament you can read about here: http://xenharmonic.wikispaces.com/Semicomma+family This is partly in the 9 note MOS of orwell, and partly explores farther, some of it becoming chromatic within the ambient tuning of the 53 equal division of the octave. Topics: microtonal, microtonal music, xenharmonic
Nonaginta et novem is Latin for ninety and nine, and indeed there are 99 notes to the octave in the tuning of this piece. which is in the 99 equal temperament (all of which notes it uses.) Instruments employed (by way of TiMidity++) are marimba, celesta, vibraphone and African thumb piano (kalimba.) Topics: microtonal, microtonal music, xenharmonic
This piece is in the eight-note Oktone scale of jove temperament, in the 202et tuning. This means it is the 202 equal tempering of the scale 1-15/14-60/49-5/4-10/7-3/2-12/7-7/4-2, leading to steps 0, 20, 59, 65, 104, 118, 157, 163, 202 of 202edo. It was a response to a proposal by Chris Vaisvil to further vary an Enigma Variations theme by converting it to a xenharmonic piece. Topics: microtonal, microtonal music, xenharmonic, variations
Harrison discusses the recent translation of an ancient Sumerian cuneiform tablet, in which the musical scale used by the Babylonian’s is described. This discovery has pushed back the origin of musical theory by at least 1,500 years. Harrison accompanies his talk with auditory illustrations of ancient scales and other plectrum pleasantries. The musical knowledge developed by the ancient Babylonians was passed on and refined by Pythagorus and Ptolemy and eventually influenced the Western... Topics: Interview, Microtonal Music, Lou Harrison
Mussorgky's Night on Bald Mountain isn't precisely found below; it has been "porcupinized" to a version in the porcupine temperament, tuned to 22 equal instead of 12 equal. Porcupine is the rank two ("linear") temperament which tempers out the porcupine comma, 250/243, instead of the 81/80 of meantone, and which divides the fourth into three equal parts, which define the generator. This can be tuned to three steps of 22 equal, which is what we've done here. Topics: microtonal, microtonal music, xenharmonic, Mussorgsky
Three twelve-note Fokker blocks can be constructed from 125/108 and 135/128, which give a scale which can be ordered according to the resulting val, which is Topics: microtonal, microtonal music, xenharmonic, Bach, Baroque
Pianodactyl is rhythmically complex, with lots of irregular starts and stops, and the name of the piece refers to Rodan. Strangely enough, however, it has nothing whatever to do with math rock. The name refers to Rodan temperament, the 26-note MOS of which is used for the scale. The tuning is 87edo. I was tempted to switch tunings when Jacques Dudon posted his own 26-note tuning for Rodan, but equal temperaments are so convenient when using Scala, and 87 has the amazing property that it's... Topics: Microtonal, Xenharmonic, Microtonal music, 87edo, Rodan
A music video I made from short clips from several B-grade sci-fi movies (and a couple clips from trailers for some A-grade films too). The video is in memory of the host of a late-night horror/sci-fi show in my hometown in the late1960's.The soundtrack is my own, composed in 13-tone quasi-equal of PHI-71 tuning. I do not own the copyrights to any of these films and no infringement is intended. Topics: music video, electronic music, microtonal music, electronica
A video I made based on a clip of the laboratory scene in Fritz Lang's classic sci-fi film, "Metropolis". The soundtrack is my own, written in 13 equal temperament. I do not own the rights to this movie, and no copyright infringement is intended. Topics: metropolis, music video, electronic music, microtonal music
In an interview, recorded on June 22, 1979, Charles Amirkhanian talks with the Mexican composer Arturo Salinas. Born in Monterrey, Mexico, Salinas studied composition with Robert Cogan at the New England Conservatory, ethnomusicology with Charles Boilès in Montreal, electro-acoustic music and microtonality with Jean-Etienne Marie in Paris, and orchestral conducting with Igor Markevitch. Included in this program is a complete performance of his “Memoire Imarcescible”, an electro-acoustic... Topics: KPFA-FM, Morning Concert series, Interview, Music, Microtonal Music
Nearly forty years after John Cage composed, “Solo for Voice 58”, an indeterminate work consisting of 18 separate parts, it finds its ideal interpreter in Italian-born dhrupad singer Amelia Cuni. The first performer to prepare the full 18 microtonal ragas for a major performance, Cuni executes microtonal melodies in five different languages with stunning ease. On November 2, 2007, Other Minds, presented the American premiere of this iconoclastic interpretation at a concert in Berkeley... Topics: Other Minds, Microtonal Music, New Music, John Cage, Amelia Cuni
Harry Partch discusses receiving notariety using a scale of 43 separate tones and original instruments with references to his "Genesis of a Music." There is a brief introduction to "Twelve Intrusions," this recording which is played by five musicians under Partch's direction. The pieces are: Study in an Ancient Phrygian Scale, Study in the Ancient Greek Enharmonic Scale, The Rose, The Crane, The Wind, The Waterfall, The Letter, The Street, Vanity, Lover, Soldiers/War/Another... Topics: Interview and Music, Microtonal music, , Unconventional Instruments, Harry Partch Source: Other Minds
Atmospheric electronic music in two subsets of 52-equal temperament: first a 12-tone set and then primarily a hexatonic mode thereof. Re-mixed & re-mastered. Topics: microtonality, 52 equal temperament, microtonal music, microtonal electronica, xenharmonic music
Charles Amirkhanian discusses the music and ideas of Harry Partch on the day after his death. Several examples of his work are played, in addition to brief reminiscences about the man by a number of notable composers and musicians that knew or were influenced by Partch. Topics: KPFA-FM, Documentary, Microtonal Music, Unconventional Instruments, Harry Partch
From a program recorded in 1965, Peter Yates introduces Harry Partch's “Oedipus”. This is a classic example of Partch's speech-music form of musical drama and dance. Part eccentric and part genius, Harry Partch was famous for his 43-note microtonal scale, typically played on instruments of his own design. Partch often incorporated dance or theatrics in his compositions, with this work “King Oedipus” being based on both the original play by Sophocles as well as additonal texts by William... Topics: KPFK-FM, Evenings on the Roof, Music, Music Theatre, Microtonal Music, Harry Partch
The third and final concert of OM 14 was held on March 7, 2009. The program began with Other Minds Executive and Artistic Director, Charles Amirkhanian, moderating a panel discussion with the evening’s featured composers and performers John Schneider, Michael Harrison, Chinary Ung, and Chico Mello. Different tuning systems were discussed with Schneider and Harrison demonstrating two of them while also making the prediction that future composers will be quite comfortable working with a variety... Topics: Other Minds Festival of New Music, OM 14, Lecture, Panel Discussion, Music, New Music, Microtonal...
Recorded on February 28, 1992, Charles Amirkhanian interviews composer Julia Wolfe, and plays a selection of her works. Wolfe discuses the origins of several of the rather unusual titles for her compositions. We then hear “The Vermeer Room” which is scored for 16 instruments as well as her string quartet “Four Marys.” This later work, we learn, was inspired by a Scottish folk tune yet fails to quote any of the original work or even reference Scottish folk music. The second half of the... Topics: KPFA-FM, Morning Concert series, Music, Interview, Microtonal music, Chamber music, New Music
From a program originally recorded in 1965 and first broadcast on KPFA on Sept. 6, 1966, Peter Yates introduces several pieces by the avant-garde, American, composer, Harry Partch. Partch is perhaps best known for his compositions utilizing a 43 note scale and performed on his collection of hand made instruments. Many of his works were also theatrical in nature, calling for dancers or actors as well as musicians. This program highlights three such compositions, including his "Even Wild... Topics: KPFK-FM, Evenings on the Roof, Music, Music Theatre, Microtonal Music, Harry Partch
Two works by the famed microtonal composer Ivan Wyschnegradsky. The first work, “Meditation sur 2 themes de la ‘Journée de l’Existence’” is scored for cello in ⅓-, ¼- and ⅙-tones with piano. This is followed by “Etude sur la carré magique sonore” a 1956 composition for semitone piano. The performers are Jacques Wiederker, cello , and Martine Joste, piano. Wyschnegradsky was a Russian-born composer who in the early 1920’s designed the first quarter-tone piano. For the next... Topics: KPFA-FM, Music, Microtonal Music, 20th Century Classical, Ivan Wyschnegradsky
Electronica using a 9-tone subset of 26-equal. This was written during the recent heat-wave out here in the Southwest. Topics: microtonal music, techno, 26 equal temperament, microtonality, xenharmonic music, microtonal...
From a program recorded in 1965, Peter Yates plays Harry Partch's "Revelation in the Courthouse Park" a piece of musical theater based on The Bacchae by Euripides. Topics: KPFK-FM, Evenings on the Roof, Music, Music Theatre, Microtonal Music, Harry Partch
The first in a series of programs produced by Peter Yates, highlighting the works of Harry Partch. This program begins with an excerpt from one of Partch's pieces followed by a 1960 interview of Partch by Peter Yates in which he discusses his career. Topics: KPFA-FM, Interview and Music, Microtonal Music, Unconventional Instruments, Harry Partch
On September 29, 1979, Ivan Wyschnegradsky died in Paris at the age of 86. Only in the last two years of his life did he become widely recognized in Europe for his contributions to the repertoire. Since the early 1920s he had composed in various microtonal systems in an attempt to expand the possibilities of musical expression. Presented in this program is the first American broadcast of Wyschnegradsky’s early (1916-17) mystical work “La Journee de l’Existence”. The performance,... Topics: KPFA-FM, Morning Concert Series, Interview and Music, Orchestral Classical, Microtonal music, Ivan...
A longer, re-mixed & re-mastered version of "VoxSyntheticus", microtonal electronica in 13-equal temperament & set against Gregorian chant samples. Topics: microtonality, 13 equal temperament, techno, microtonal electronica, microtonal music, xenharmonic...
American composer Benjamin Burwell Johnston was born March 15, 1926 in Macon, GA. Living briefly in Berkeley, CA, in 1950, he was associated with Harry Partch and studied at the University of California and Mills College. From 1951 to 1983 he taught at the University of Illinois at Urbana-Champaign. In this program, recorded in 1981, Johnston is interviewed by Charles Amirkhanian about his career, compositions, and influences. A composer fundamentally partial to microtones, Johnston discusses... Topics: KPFA-FM, Morning Concert series, Music, Interview, 20th Century Classical, Microtonal Music, Ben...
Ben Johnston delivers an autobiographical lecture describing his early music influences including Harry Partch as part of a symposium held at the University of North Carolina in Greensboro. He also discusses in detail his interest in microtonal music and in particular just intonation. He then answers questions posed by the audience. Topics: Lecture/panel Discussion, Microtonal Music, 20th Century Classical, Ben Johnston